Fair is language: São Paulo Art Fair
I received an email from Miguel Benavides, a friend who runs Studio Trust. At the request of Studio ...
Édouard Vuillard: A Painter and his Muses, 1890–1940
Édouard Vuillard: A Painter and his Muses, 1890–1940. The Jewish Museum, New York 4 May–23 Se...
Dissent Popes and Swandown: a taste of Cafe Gallery Projects
Recent accolades likening South London to New York may be slightly exaggerated yet complimentary com...
Fashion’s Archeologist Excavates Her Past
A woman who shares her living space with a Mexican Huastec figure dated to 900 CE, Russian icons, In...
Elemental Extravagance: The Jewelry and Metalwork of Marie Zimmermann
Widely admired and acquired during her lifetime, Marie Zimmermann...
Extra Muros: Masterpieces at MAS, Five Centuries of Images from Antwerp
The first temporary exhibition set up in this industrial edifice, adorned by 3,000 legendary little ...
Paris in the springtime, more than any other city perhaps, compels its visitors and natives to dance...
David Hockney: A Bigger Picture
David Hockney: A Bigger Picture at the Royal Academy provides a feast of colour in mid-winter, and a...
The Pompidou's Munch retrospective entitled L'œil moderne stares defiantly at the Norwegian's life ...
From Neon to New Order. Postmodernism: Style and Subversion, 1970-1990
'Some of the best postmodernists are modernists on a holiday from orthodoxy' claimed Charles Jencks,...
Every Day is a Good Day. The Visual Art of John Cage
In 1952 David Tudor performed a piece by John Cage that existed in the absence of musical notation. ...
Fantastical notions and their strange connections
At first glance the works of Paul Etienne Lincoln might be late 18th-century diagrams of eccentric i...
Eyewitness: Hungarian Photography in the 20th century
Brassaï, Capa, Kertész, Moholy-Nagy, Munkácsi
The Sackler Wing of Galleries, Royal Academy o...
In the introductory notes to the exhibition Frida Kahlo & Diego Rivera: From the Gelman Collection, ...
Drummond House, Meigle, Perthshire
The vernacular tradition of rural Britain has preoccupied the majority of builders, clients, archite...
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Ellen Bell: Camera Obscura and Other Stories
Ellen Bell’s work has all too often been side-lined as craft rather than art, and, indeed, the pai...
Enrique Martinez Celaya: The Cliff
The exhibition takes its name from one of its key works, The Giant Cliff (2010), and truth to tell i...
Drawing Fashion: A Century of Fashion Illustration
Drawing Fashion: A Century of Fashion Illustration honours the art dealer Joëlle Chariau’s unique...
Egon Schiele: Self-Portraits and Portraits
The short life of Egon Shiele (1890–1918) has fascinated historians, critics and artists for many ...
Eadweard Muybridge: Shaping and Shifting Our Point of View
Eadweard Muybridge’s photographic practice is so familiar to us; it is easy to forget he began his...
Darren Almond: The Principle of Moments
Darren Almond, in his exhibition at the White Cube Gallery, shares a fascination with the geography ...
Djalkiri: We are Standing on their names: Blue Mud Bay, (2009–2010)
Yilpara on Blue Mud Bay is a special place. Djalkiri is a special word. It has several meanings, one...
Though the curators are keen to stress that this is merely a selection, rather than the definitive c...
Don’t Art, Fashion, Music – Chicks on Speed
In Edinburgh this summer, coinciding with the Fringe Festival at first, and then extending into next...
Fra Angelico to Leonardo: Italian Renaissance Drawings
Andrea del Verrocchio’s, Head of a Woman (1470s) advertises the Italian Renaissance Drawing exhibi...
Frances Walker: Works on Paper
Three exhibitions have been staged to mark the 80th birthday later this year of one of Scotland...
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